Volume 11, Issue 53 (2023)
CFL 2023, 11(53): 1-36 |
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Ahmadpour Kandsar M, Fazeli F, Ranjbar M. A Critical Comparison of the Double Narrative of Ranaa's Song. CFL 2023; 11 (53) :1-36
URL: http://cfl.modares.ac.ir/article-11-68754-en.html
URL: http://cfl.modares.ac.ir/article-11-68754-en.html
1- Master of Persian Language and Literature, Guilan University, Rasht, Iran.
2- Associate Professor of Persian Language and Literature, Guilan University, Rasht, Iran. ,drfiroozfazeli@guilan.ac.ir
3- Associate Professor of Persian Language and Literature, Guilan University, Rasht, Iran.
2- Associate Professor of Persian Language and Literature, Guilan University, Rasht, Iran. ,
3- Associate Professor of Persian Language and Literature, Guilan University, Rasht, Iran.
Abstract: (2419 Views)
Introduction
Folk songs have been popular among Iranian people. These songs contain beliefs, rituals, affections and historical references and are popular all over the plateau of Iran, including Guilan. The most important feature of local songs is oral transmission from generation to generation. One of the most famous popular songs in the land of Guilan, which has attracted the attention and interest of the people, is the happy and romantic song "Ranaa". Ranaa's story has always been welcomed by the readers and listeners of Gil and Daylam, but also different regions of Iran, due to the charms hidden in its narrative text. The historical references in the story of the discovery of this song and the research and supplementary clauses in it have caused various readings, in such a way that some researchers consider the foundation of Ranaa's song to be extracted from two fascinating political, social and love stories. To illustrate, they believe that the origin of the song "gradually accompanied a group of Eshkevari immigrants to some places in the plains - east of Guilan and West of Mazandaran - and in later years by groups of skilled workers in carpentry. It has been transferred to a wider area than the mentioned points, that is, from Astara to Astarabad (Gorgan) - the two important centers of the wood industry and attracting cheap human labor at that time" (Sadr Eshkevari, 2010, p. 13).
It seems that one of the most important reasons for the survival of this song is the variety in the narration and the way of expressing its events. Since many years ago, various narratives have been expressed and recorded about Ranaa's song. During the field research in the land of Eshkevar, it was found that most of the old people of this region still sing this song with special enthusiasm in expressing the sufferings and hardships of the times. The historical and social origin of Ranaa's song has received less attention and discussion over time; one of the reasons for this is the chain of double narration from the beginning of the formation of the song until today. Ranaa's song has reached today's generation with two main narratives, and distinguishing right from wrong is complicated and difficult. This issue, along with other reasons, such as the political-social atmosphere prevailing the region of its composition, the hidden protest aspect of the song, includes the conflict between the singers of the region and the view of the lord and the serf. Also, the lack of attention in knowing the elements involved in the incident has caused injustice towards its main character, "Ranaa".
Research method
The current research is the result of analyzing and verifying the written data related to Ranaa song in Eshkevar region with field research and personal observations of the authors from 2017 to 2020. Since many of the narrators of the song are no longer alive, an attempt was made to analyze the tapes and audio files remaining from the native singers of Eshkevar and they were compared with the sources and data recorded in the library to make a more realistic analysis of the problem. To have interviews and conversations with native and local researchers of Eshkevar region, another way in obtaining and collecting information about Ranaa's song was established.
Discussion
There are two famous narratives about Ranaa: 1. Ranaa, the daughter of "Sargalash Hasan Khanesari" around the beginning of 1920, fell in love with a young man named Hadi from Sargalshan Surchani in the suburbs of Shuil village in the east of Guilan, but her father plans to send her to marry with a man named "Nowruz" from the people of "Kshaye Eshkevar" village. Rana is not satisfied with this forced relationship and does not agree with it. Hadi and Ranaa's affection is not far from the public eye, this issue causes conflict and chase between Nowruz and Hadi. In the meantime, the people of Nowruz's hometown (Lashkan) also support him, to the point that the conflict is extended to clans and settlements. Hadi along with his friends set fire to the wheat crop of the people of Lashkan. 2. In this group of narrations, Ranaa is nominated and represented by a Kolrodi shepherd named Nowruz. According to some Kurdish researchers, Aghjan, one of the fugitive rebels of the region, entered the village of Kolrod and, relying on his fighting abilities, provided the conditions for the formation of a group of "Ayars" who were known among the rebels and thieves of Eshkevar region. Among them is a person named "Hadi Sorchani" who is mentioned in the song as Hadi. Meanwhile, Kordaghjan accidentally falls in love with Ranaa and with the advice and help of his companion, Hadi, tries to possess Ranaa. "Therefore, Hadi, after consultation and confidential conversation, decided to steal Ranaa from her house and take her to Aghajan's residence by the order of Kurd Aghajan.
The result
In later narratives, the main focus is on the music of words, the destruction of Ranaa's personality, Kurd Aghajan and Hadi's confusion ultimately leads to the distortion of Ranaa's socio-political event in one of the historical crises. In the analysis of the main characters of the song, based on the text of the poems and first-hand narratives, a clearer and more accurate picture of the mentioned names and their role in the formation of the story was displayed. This issue invalidates the later narratives that depict the romantic and lovely side of the story with Kurd Aghajan's love relationship with Ranaa and her rivalry with Sargalash Hadi. The protest elements of Ranaa's song are closely related to the view of the masters towards the status of their subjects and subordinates. In Ranaa's past narrations, we specified how the master's control causes the collapse of pure attachments, and the destructive current, by distorting the narrative of history, erasing the story from the page or making it empty of the main aspects of the theme.
References
Ahmadpour Kandsar, M. (2019). Examining the content of the folk poems of East Guilan with the focus of Eshkevar Rahimabad. Master's thesis, Under the guidance of Firouz Fazeli, Guilan University.
Babakhani Leshkan, K. (2019). The bright shadows of Rana Dokhtar Eshkevar's life. Tadbir Roshan.
Payandeh Langroudi, M. (1995). Gil and Deylam’s culture. Amir Kabir.
Pourreza, F. (2018). Folkloric music of Gilan. Farhang Iliya.
Zolfaghari, H., & Ahmadi Kamarposhti, L. (2008). Typology of Iranian native songs. Literary Studies, 7 & 8, 170-143.
Folk songs have been popular among Iranian people. These songs contain beliefs, rituals, affections and historical references and are popular all over the plateau of Iran, including Guilan. The most important feature of local songs is oral transmission from generation to generation. One of the most famous popular songs in the land of Guilan, which has attracted the attention and interest of the people, is the happy and romantic song "Ranaa". Ranaa's story has always been welcomed by the readers and listeners of Gil and Daylam, but also different regions of Iran, due to the charms hidden in its narrative text. The historical references in the story of the discovery of this song and the research and supplementary clauses in it have caused various readings, in such a way that some researchers consider the foundation of Ranaa's song to be extracted from two fascinating political, social and love stories. To illustrate, they believe that the origin of the song "gradually accompanied a group of Eshkevari immigrants to some places in the plains - east of Guilan and West of Mazandaran - and in later years by groups of skilled workers in carpentry. It has been transferred to a wider area than the mentioned points, that is, from Astara to Astarabad (Gorgan) - the two important centers of the wood industry and attracting cheap human labor at that time" (Sadr Eshkevari, 2010, p. 13).
It seems that one of the most important reasons for the survival of this song is the variety in the narration and the way of expressing its events. Since many years ago, various narratives have been expressed and recorded about Ranaa's song. During the field research in the land of Eshkevar, it was found that most of the old people of this region still sing this song with special enthusiasm in expressing the sufferings and hardships of the times. The historical and social origin of Ranaa's song has received less attention and discussion over time; one of the reasons for this is the chain of double narration from the beginning of the formation of the song until today. Ranaa's song has reached today's generation with two main narratives, and distinguishing right from wrong is complicated and difficult. This issue, along with other reasons, such as the political-social atmosphere prevailing the region of its composition, the hidden protest aspect of the song, includes the conflict between the singers of the region and the view of the lord and the serf. Also, the lack of attention in knowing the elements involved in the incident has caused injustice towards its main character, "Ranaa".
Research method
The current research is the result of analyzing and verifying the written data related to Ranaa song in Eshkevar region with field research and personal observations of the authors from 2017 to 2020. Since many of the narrators of the song are no longer alive, an attempt was made to analyze the tapes and audio files remaining from the native singers of Eshkevar and they were compared with the sources and data recorded in the library to make a more realistic analysis of the problem. To have interviews and conversations with native and local researchers of Eshkevar region, another way in obtaining and collecting information about Ranaa's song was established.
Discussion
There are two famous narratives about Ranaa: 1. Ranaa, the daughter of "Sargalash Hasan Khanesari" around the beginning of 1920, fell in love with a young man named Hadi from Sargalshan Surchani in the suburbs of Shuil village in the east of Guilan, but her father plans to send her to marry with a man named "Nowruz" from the people of "Kshaye Eshkevar" village. Rana is not satisfied with this forced relationship and does not agree with it. Hadi and Ranaa's affection is not far from the public eye, this issue causes conflict and chase between Nowruz and Hadi. In the meantime, the people of Nowruz's hometown (Lashkan) also support him, to the point that the conflict is extended to clans and settlements. Hadi along with his friends set fire to the wheat crop of the people of Lashkan. 2. In this group of narrations, Ranaa is nominated and represented by a Kolrodi shepherd named Nowruz. According to some Kurdish researchers, Aghjan, one of the fugitive rebels of the region, entered the village of Kolrod and, relying on his fighting abilities, provided the conditions for the formation of a group of "Ayars" who were known among the rebels and thieves of Eshkevar region. Among them is a person named "Hadi Sorchani" who is mentioned in the song as Hadi. Meanwhile, Kordaghjan accidentally falls in love with Ranaa and with the advice and help of his companion, Hadi, tries to possess Ranaa. "Therefore, Hadi, after consultation and confidential conversation, decided to steal Ranaa from her house and take her to Aghajan's residence by the order of Kurd Aghajan.
The result
In later narratives, the main focus is on the music of words, the destruction of Ranaa's personality, Kurd Aghajan and Hadi's confusion ultimately leads to the distortion of Ranaa's socio-political event in one of the historical crises. In the analysis of the main characters of the song, based on the text of the poems and first-hand narratives, a clearer and more accurate picture of the mentioned names and their role in the formation of the story was displayed. This issue invalidates the later narratives that depict the romantic and lovely side of the story with Kurd Aghajan's love relationship with Ranaa and her rivalry with Sargalash Hadi. The protest elements of Ranaa's song are closely related to the view of the masters towards the status of their subjects and subordinates. In Ranaa's past narrations, we specified how the master's control causes the collapse of pure attachments, and the destructive current, by distorting the narrative of history, erasing the story from the page or making it empty of the main aspects of the theme.
References
Ahmadpour Kandsar, M. (2019). Examining the content of the folk poems of East Guilan with the focus of Eshkevar Rahimabad. Master's thesis, Under the guidance of Firouz Fazeli, Guilan University.
Babakhani Leshkan, K. (2019). The bright shadows of Rana Dokhtar Eshkevar's life. Tadbir Roshan.
Payandeh Langroudi, M. (1995). Gil and Deylam’s culture. Amir Kabir.
Pourreza, F. (2018). Folkloric music of Gilan. Farhang Iliya.
Zolfaghari, H., & Ahmadi Kamarposhti, L. (2008). Typology of Iranian native songs. Literary Studies, 7 & 8, 170-143.
Article Type: پژوهشی اصیل |
Subject:
Gilan and Mazandaran Public Literature
Received: 2023/04/28 | Accepted: 2023/08/6 | Published: 2023/11/21
Received: 2023/04/28 | Accepted: 2023/08/6 | Published: 2023/11/21
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